¿Qué separa a los fotógrafos de los artistas? My article translated into Spanish

"¿Qué separa a los fotógrafos de los artistas?" is my article "Into the Photographers’ Universe: What Separates Photographers from Artists?" translated into Spanish and published in October 18, 2017 edition of MALBA Diario, online magazine of the Museo de Arte Latinoamericano de Buenos Aires(MALBA), Argentina. 

Read More

The Past is Present: Time and Space in Māra Brašmane’s Photographs of the Riga Central Market

The Riga Central Market is a landmark structure in the center of Riga, capital city of Latvia. It was built in the 1930s.  Renowned Latvian photographer Māra Brašmane has observed everyday life in this market in the 1960s, 1970s, 1980s, 1990s, and into the 2000s and 2010s. Through the changes in the marketplace you can notice the changes that Latvian society underwent in these decades. 

Read More

Underexposed Photographers: Life Magazine and Photojournalists’ Social Status in the 1950s

Today, we are used to seeing documentary images by photographers such as Margaret Bourke-White, Henri Cartier-Bresson or Robert Doisneau as fine art prints in art museums and galleries. But most of these images were initially made for the magazine page where the photographer’s name often went unnoticed. The US-based illustrated weekly magazine Life was instrumental in the process of photographers gaining more recognition and global exposure. However, this process was neither smooth nor free of obstacles. 

Read More

The 'Cosmopolitan Art': The FIAP Yearbooks of Photography, 1954–60

“The ‘Cosmopolitan Art:’ The FIAP Yearbooks of Photography, 1954–60.” Paper presented at the 105th Annual CAA Conference, New York City, February 17, 2017.

Photo: Elizabeth Cronin.

Photo: Elizabeth Cronin.

“It is a diversified, yet tempered picture book containing surprises on every page, a mirror to pulsating life, a rich fragment of cosmopolitan art, a pleasure ground of phantasy”—this is how, in March 1956, the editorial board of Camera magazine introduced the latest photography yearbook by the International Federation of Photographic Art (Fédération internationale de l'art photographique, FIAP). This paper will analyze this “cosmopolitan art” of photography in the first four FIAP yearbooks, published between 1954 and 1960 on a biennial basis.

FIAP, a nongovernmental transnational organization, was founded in Switzerland in 1950 and aimed at uniting the world’s photographers. Its members were national associations of photographers, representing 55 countries: seventeen in Western Europe, thirteen in Asia, ten in Latin America, six in Eastern Europe, four in Middle East, three in Africa, one in North America, and Australia. Photographs for FIAP yearbooks were selected from works submitted by all member associations.

The resulting large format hardcover photo-books consisted of average 120 full-page photogravure reproductions, grouped by country. These yearbooks, I argue, complicated and politicized the understanding of photographic art in the 1950s. On one side, the yearbooks presented a groundbreaking attempt to reject Western Europe as the only center of creativity in favor of a model of global participation. On the other, the organization’s ambition to survey the cultural diversity of the world at times was limited by ethnographic stereotyping (e.g., recurring depictions of Catholic priests or nuns in the Spanish section or portraits of geishas from Japan).

This paper was part of the panel "Photography in Print," moderated by Andrés Mario Zervigón, Rutgers University. The two other presenters in our panel were C.C. Marsh, The University of Texas at Austin, who presented Between Art and Propaganda: Photo-Monde in the Service of the UN, and Meredith TeGrotenhuis Shimizu, Whitworth University, who presented The Spectacularization of Disaster: Photographs of Destruction in Commemorative Coffee Table Books.

Thank you to all who came to our panel. It was a great honor to present my research and discuss it with the two other scholars in our panel.

The panel "Photography in Print" at the CAA 2017. From the left: Meredith TeGrotenhuis Shimizu, C.C. Marsh, and Alise Tifentale.

The panel "Photography in Print" at the CAA 2017. From the left: Meredith TeGrotenhuis Shimizu, C.C. Marsh, and Alise Tifentale.